Of all the three instruments classified in the Hebrew texts as
an "instrument of song," probably the least recognized
and understood are the cymbals utilized by the Levite singers. It
is very easy when reading the various English translations to
assume that when the word cymbal is used, the texts are speaking
of one particular type of instrument. The fact is however, there
are two very specific and distinct types of cymbals mentioned in
the Hebrew texts - one type that was used by the Levites singers
and one associated with the common people. Just as the English
word cymbal does not refer to a specific type of instrument, but
is a generic term referring to a family of instruments, the
corresponding Hebrew words derived from the Hebrew root
tsel refer in like manner to a class of instruments not a
single, specific instrument.

A simple definition for a cymbal
might be, "a type of instrument consisting of a circular,
domed or flat metal plate that can be percussively struck with a
mallet or when used as a pair, concussively struck
together." When most people think of a cymbal, they may
reference in their mind's eye the large, thin instruments
that are used in marching band, concert band, and are found in
various forms on modern drum-kits. These types of cymbals;
referred to in various settings as crash cymbals, hand cymbals,
ride cymbals, hi-hat cymbals, etc. are fundamentally contemporary
instruments, not ancient ones.

In contrast to these very large
and thin types of cymbals, the cymbals of the Biblical time
periods were substantially smaller and thicker by comparison.
From the artifacts that have been excavated in the Palestine
area, we are told that there are two basic types of bronze
cymbals that ranged in size from approximately 1.125" to
2.325" (3-6 cm) for the smaller cymbal to 3.125" to
4.75" (8-12 cm) for the larger variety that have been
excavated.1

The smaller of these cymbals are
similar, if not identical, to the finger cymbals worn on the
hands of center Eastern dancers today. In modern times, we
continue to find a related word in Arabic that refers to these
types of cymbals, zil. As you may have noticed, both the
Hebrew tsel and the Arabic zil are quite similar in
pronunciation and most certainly had a common etymology in
antiquity.

Another instrument of this period
that utilized these smaller types of cymbals were the cymbal clappers. Individually mounted on flexible prongs and a handle
(Job 41:7), the player would rapidly shake the instrument causing
the two cymbal plates to concussively strike each other creating
the pulsating rhythmic pattern that is most likely being referred
to in the second part of Psalm 150:5 (with cymbals of teruah
- ba-tsel-tsa-la' ta-ru-ä'). The
teruah was also the rhythmic pattern associated with a
specific call of the shofar (Leviticus 25:9) and the two silver
trumpets (Numbers 10:5). It is also the term for the wobbling,
verbal 'war cry' that continues to be heard even today in
the center Eastern countries (Joshua 6:5, 1 Samuel 4:5-6). Unlike
the techniques used for the intricate rhythmic patterns of the
finger cymbals associated with the dance, the cymbal clappers
require very little skill to play and were most likely used by
the common people in their celebrations (2 Samuel 6:5). Still
available from contemporary cymbal manufactures like Zildian,
this type of rhythm instrument is also referred to today as a
cymbal castanet.

In contrast to these non-musical,
concussive, rhythm instruments that utilized the smaller of the
ancient cymbal types, the larger variety of ancient cymbals had
the unique characteristic of being able to produce a defined,
musical tone. We get our first clue regarding this type of cymbal
from the first part of Psalm 150:5 we spoke of earlier. In the
Greek Septuagint translation of this particular verse, the
translator picked up on a very subtle, yet important aspect when
he chose to translate the Hebrew phrase ba-tsel-tsa-la'
shä-ma' as melodic or
melodious cymbals.

As the only other word (besides the
Hebrew word for cymbal tsel-tsa-la') in this
two-word phrase is the word Hebrew word
shä-mä'; it is not unreasonable to conclude
that shä-mä', when used in association
with a particular type of cymbal, is an idiomatic usage of the
term. Traditionally, the word shä-mä' is
understood to relate to the sense of hearing, being heard, to
hear, etc. However, its association with the word cymbal and
subsequent translation of Psalm 150:5 into the Greek may be an
indication of a broader meaning and application when used in
relation to the cymbals of the Levites. A type of cymbal that
produced a melodious sound rather than the clanging, percussive
sound mentioned in the second part of the Psalm 150:5 text. In
this context, words derived from the Hebrew word
shä-mä' appear to relate in some manner to our
English word pitch when used in relation to the cymbals of the
Levites. Assuming this premise is correct, the two types of
cymbals referenced in the Hebrew texts are:

melodic cymbals, tuned cymbals, crotales
The larger variety of ancient
cymbals produce a clear, ringing, defined tone and pitch. With
the exception of Psalm 150:5..., all other references below
relate exclusively to the cymbals of the Levite singers
(*associated with the Hebrew word shä-mä'
)

In addition to the above, we
also know that the cymbals of the Levite singers were used in
pairs. In the Hebrew texts of the Masorites a unique convention
was used in when referencing these particular types of cymbals
associated with cymbals of the Levite singers, the dual form. In
Hebrew, this unique way of defining things that come in twos
(i.e., hands, feet, eyes, etc.) is designated with specific vowel
pointing associated with the plural endings of each instance. In
all cases, the cymbals of the Levites are referenced as being a
pair and never as a single cymbal.

(ma-tsel-tä'-yem)

plural ending

root tsel

preposition min

dual

single plate

meaning from

We also know from various
historical Jewish writings, that by the time of the Second Temple
there was only one cymbal that remained and was used by the
singers to start the song. - an extremely important
point that will be discussed in more detail later. These texts
further state that this one cymbal was cracked.2 A further commentary relates that
the Temple hired some metal craftsmen from Alexandria in attempt
to repair a crack in this single remaining cymbal. However, once
the crack was fixed, the tone changed and the sound was no longer pleasant so they removed the patch.3 By patching the cymbal with more metal
would not only change the pitch, but also the ability of the
cymbal to vibrate in a manner that could produce the uniform and
repeating sound wave needed to create the pleasing, musical tone
of the original cymbal. Apparently, the art and technology used
to create or even repair these unique types of cymbals used by
the Levites had been throughout the centuries.

An interesting parallel to this
single, broken cymbal used in the Temple and the texts in Psalm
150:5 may have been the inspiration to a commonly quoted
Christian text of Paul in 1 Corinthians 13:1:

1 Corinthians 13:1
"Though I speak with the tongues of men and of angels, and
have not love, I have become like a sounding piece of
bronze or a clanging cymbal."

Psalm 150:5
"Praise Him with melodic cymbals, praise Him with
cymbals of 'teruah'"

Paul, who was a Jewish convert
to Christianity and no doubt familiar with the Temple and the
artifacts of the Temple of his time may have been alluding to the
two types of cymbals mentioned in Psalm 150:5. If we change the
traditional translation slightly to include the understanding
that Paul was in fact referring in a derogatory sense to this
single, broken cymbal in use in the Temple during his time, the
text takes on a much clearer understanding:

1 Corinthians 13:1 - an alternate translation"Though I speak with the tongues of men and of angels,
but do not have not love,

I have become like a broken cymbal of bronze -
referring to the single, cracked cymbal of the Temple,

or a clanging cymbal - referring to the cymbals of
'teruah'."

A final important piece of
information in the Hebrew texts regarding the function of the
cymbals of the Levite singers is found in Ezra 3:10:

"And when the builders laid the foundation of the
temple of Yahveh, they set the priests in their apparel with
trumpets, and the Levites the sons of Asaph with cymbals, to
praise Yahveh, according to the direction of David king of
Israel." - Ezra 3:10

How could instruments like the melodic cymbals of the Levite singers praise Yahveh?
It was by being able to play the Name of YAH!